Готові списки джерел за темами / Cosmic odyssey

Добірка наукової літератури з теми "Cosmic odyssey"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Cosmic odyssey"

1

von Herrmann, Hans-Christian. "Odyssey without Nostos, or, From Globe to Planet." Zeitschrift für Medien- und Kulturforschung 9, no. 1 (2018): 147–56. http://dx.doi.org/10.28937/1000108100.

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We are witnessing a return of cosmology in 20th and 21st century thinking. It is cosmology in the ancient greek sense of the word which addressed the entirety of what surrounds and carries us. Another term for this ongoing transformation is the ›planetary‹ which isn’t simply a synonym for the ›global‹. The planetary means a kind of boundless pervasion based on science and technology and transposing planet earth and human life from a culture-historical to a cosmic scale.
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2

Owen, Corey. "The Sublime Cosmic Abyss and the Bruno Exemplum in Cosmos: A Spacetime Odyssey." Journal of Religion and Popular Culture 32, no. 1 (May 1, 2020): 1–14. http://dx.doi.org/10.3138/jrpc.2017-0072.

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3

Zeitlin, C., W. Boynton, I. Mitrofanov, D. Hassler, W. Atwell, T. F. Cleghorn, F. A. Cucinotta, et al. "Mars Odyssey measurements of galactic cosmic rays and solar particles in Mars orbit, 2002-2008." Space Weather 8, no. 11 (November 2010): n/a. http://dx.doi.org/10.1029/2009sw000563.

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4

Yang, Weiqiang, Supriya Pan, Eleonora Di Valentino, Olga Mena, and Alessandro Melchiorri. "2021-H0 odyssey: closed, phantom and interacting dark energy cosmologies." Journal of Cosmology and Astroparticle Physics 2021, no. 10 (October 1, 2021): 008. http://dx.doi.org/10.1088/1475-7516/2021/10/008.

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Abstract Up-to-date cosmological data analyses have shown that (a) a closed universe is preferred by the Planck data at more than 99% CL, and (b) interacting scenarios offer a very compelling solution to the Hubble constant tension. In light of these two recent appealing scenarios, we consider here an interacting dark matter-dark energy model with a non-zero spatial curvature component and a freely varying dark energy equation of state in both the quintessential and phantom regimes. When considering Cosmic Microwave Background data only, a phantom and closed universe can perfectly alleviate the Hubble tension, without the necessity of a coupling among the dark sectors. Accounting for other possible cosmological observations compromises the viability of this very attractive scenario as a global solution to current cosmological tensions, either by spoiling its effectiveness concerning the H0 problem, as in the case of Supernovae Ia data, or by introducing a strong disagreement in the preferred value of the spatial curvature, as in the case of Baryon Acoustic Oscillations.
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5

Honig, Thomas, Olivier G. Witasse, Hugh Evans, Petteri Nieminen, Erik Kuulkers, Matt G. G. T. Taylor, Bernd Heber, Jingnan Guo, and Beatriz Sánchez-Cano. "Multi-point galactic cosmic ray measurements between 1 and 4.5 AU over a full solar cycle." Annales Geophysicae 37, no. 5 (September 25, 2019): 903–18. http://dx.doi.org/10.5194/angeo-37-903-2019.

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Abstract. The radiation data collected by the Standard Radiation Environment Monitor (SREM) aboard ESA missions INTEGRAL (INTErnational Gamma-Ray Astrophysics Laboratory), Rosetta, Herschel, Planck and Proba-1, and by the high-energy neutron detector (HEND) instrument aboard Mars Odyssey, are analysed with an emphasis on characterising galactic cosmic rays (GCRs) in the inner heliosphere. A cross calibration between all sensors was performed for this study, which can also be used in subsequent works. We investigate the stability of the SREM detectors over long-term periods. The radiation data are compared qualitatively and quantitatively with the corresponding solar activity. Based on INTEGRAL and Rosetta SREM data, a GCR helioradial gradient of 2.96 % AU−1 is found between 1 and 4.5 AU. In addition, the data during the last phase of the Rosetta mission around comet 67P/Churyumov–Gerasimenko were studied in more detail. An unexpected yet unexplained 8 % reduction of the Galactic Comic Ray flux measured by Rosetta SREM in the vicinity of the comet is noted.
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6

Boczkowska, Kornelia. "The Homely Sublime in Space Science Documentary Films: Domesticating the Feeling of Homelessness in Carl Sagan’s Cosmos and its Sequel." Kultura Popularna 4, no. 54 (May 7, 2018): 24–35. http://dx.doi.org/10.5604/01.3001.0011.6717.

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The paper discusses the ways of domesticating the feeling of sublime homelessness when contemplating the realm of outer space in Carl Sagan’s revolutionary television series Cosmos: A Personal Voyage (1980) and its present-day sequel Cosmos: A Spacetime Odyssey (2014) hosted by Neil deGrasse Tyson. Following World War II, a novel trend emerged in the science documentary film fueled by “popular science boom” or the “post-war bonanza” (Gregory and Miller, 37) and characterized by a gradual tendency to move toward more complicated representational extremes. Its form, best exemplified by the late 1970s and 1980s space science documentaries, relied on the scientist-hosted and stunningly realist format as well as a mediated experience of the astronomical and dynamic sublime. Partly contrary to this conception, the new ways of deriving spectator’s pleasure also involved both domesticating and trivializing the productions’ content, observable in references to domestic surroundings as well as familiar cultural and historical conventions, such as the frontier myth or urban sublime of New York City. The paper argues that examined documentaries, seen as multimedia spectacles, tend to domesticate outer space through reconciling the cosmic sublime with the notion of a homely, lived-in place.
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7

Marinatos, Nanno. "THE COSMIC JOURNEY OF ODYSSEUS." Numen 48, no. 4 (2001): 381–416. http://dx.doi.org/10.1163/156852701317092878.

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AbstractIn vain have scholars tried to produce a coherent geographical picture of Odysseus' travels. It is argued here that Odysseus makes a cosmic journey at the edges of the earth (perata ges), a phrase used in the text to describe several lands that the hero visits. The cosmic journey was a genre current in the East Mediterranean region in the Iron Age. It was modeled on the Egyptian the journey of the sun god who travels twelve hours in the darkness of the underworld and twelve hours in the sky. Evidence of similar concepts in the Near East is provided by a Babylonian circular map (now in the British Museum) as well as by Phoenician circular bowls. Gilgamesh seems to perform a cosmic journey. As well, Early Greek cosmology utilizes the concept of a circular cosmos. Odysseus' journey spans the two cosmic junctures of the universe: East, where Circe resides, and West, where Calypso lives. Another polar axis is the underworld and the island of the sun.
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8

Fürst, Isidora. "Themis and Dike – Justice in Greek Myth and Tradition." Vesnik pravne istorije 2, no. 1 (December 18, 2021): 9–39. http://dx.doi.org/10.51204/hlh_21101a.

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The understanding of law in Ancient Greece was based on the religious interpretations of human nature and natural laws. Two Greek goddesses were representatives of justice and fairness. In the ancient sources Themis is presented as a goddess and prophetess, one of the Titans and the daughter of Gea and Uranus. She is a symbol of divine order, justice, natural law and good customs. Dike, the daughter of Themis, is the goddess of justice and truth, the protector of rights and courts of justice, the arbiter, the symbol of honor, the goddess of revenge and punishment. In early Greek culture and poetry, the terms themis and dike represented justice in the meaning of cosmic order, natural law, and legality. The paper analyses the Hellenic notions of justice, fairness and legality embodied in the phenomena of themis and dike. Nomos (law) is just only if it is in harmony with themis, and law is valid only if it is just. The paper presents the doctrines of Hellenic writers, poets and playwrights on justice and law, with special reference to the influence of mythology on Hellenic law. Publius Ovidius Naso’s work „Metamorphosis”, which speaks about Themis’ role in the creation of the world and the salvation of the human race is one of the greatest sources about this goddess. In Homer’s „Iliad” and „Odyssey”, epics that sing of the heroic spirit, justice is shown in the motives, intentions and behavior of the participants in the event, mostly heroes. The poet Hesiod, famous for the poems „Theogony” and „Works and Days”, moves away from the heroic virtues of people and portrays the gods as bearers of moral power and guardians of justice. In the light of legislative reforms, Solon’s dike represents the progress and well-being of society through economic reforms, which is why justice and injustice refer only to legal and illegal acquisition of wealth and its effect on the community. Aeschylus’ „Oresteia” shows the principle of justice based on talion, according to which the punishment has to be identical with the committed crime. One of the greatest Ancient Greek playwrights, Sophocles, based his play „Antigone” on the conflict between the laws of men and the laws of gods. According to Herodotus, the greatest Ancient Greek historian, the actions of the gods govern human destinies and historical events. The idea of justice in Ancient Greece was all throughout its transformation based of the universial concept of natural balance.
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9

Bleisch, Pamela. "The Empty Tomb at Rhoeteum: Deiphobus and the Problem of the Past in Aeneid 6.494-547." Classical Antiquity 18, no. 2 (October 1, 1999): 187–226. http://dx.doi.org/10.2307/25011101.

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Aeneas' encounter with Deiphobus forms a critical juncture in Vergil's "Aeneid". In the underworld Aeneas retraces his past to its beginning; so too Vergil's audience returns to its starting point: the fall of Troy. Deiphobus himself is a metonym of Troy, embodying her guilt and punishment. But Aeneas is frustrated in his attempt to reconcile himself to this past. Aeneas attempts the Homeric rites of remembrance-heroic tumulus and epic fama-but these prove to be empty gestures. The aition of Deiphobus' tomb is revealed to have miscarried. Rhoeteum was known as the tomb and shrine of Telamonian Ajax, not Deiphobus, and Octavian's recent restoration of the Rhoetean memorial would have strengthened the already close association between Rhoeteum and Ajax in the mind of Vergil's audience. Vergil exploits Rhoeteum's resonance with Telamonian Ajax and Odysseus, Antony and Octavian, to reflect on the process of constructing national memory, a process of which epic is an integral part. Vergil suggests that one hero's memorial frequently involves the appropriation and effacement of another. In a similar vein, the heroic fama of Deiphobus which Aeneas had heard in Troy is proven false. Deiphobus' narrative of his death is replete with Odyssean allusions which critique both Homeric heroism and Homeric kleos. Evocative allusions to Catullus' laments for his brother suggest eternal elegiac mourning as an alternate generic model for memorial and reconciliation with the past. But Aeneas is denied this option. At the center of the epic, at high noon, on a cosmic crossroads, Aeneas is poised between past and future, between mourning and hope, between Deiphobus and Deiphobe, between epic and elegiac. The Sibyl interrupts and moves Aeneas forward. Aeneas is not purged of his past, but rather denied the opportunity for true reconciliation, which is bestowed not by forgetting but by remembrance.
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10

Cerri, Giovanni. "The Most Archaic Ocean: Beyond the Bosphorus and the Strait of Sicily." Peitho. Examina Antiqua, no. 1(4) (January 6, 2014): 13–22. http://dx.doi.org/10.14746/pea.2013.1.1.

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From immemorial time, many Tyrrhenian places of ancient Sicily and Italy were identified (also by the local people) with the main stages of the return of Ulysses (Cyclopes, Aeolus, Circe, etc.). Some Hellenistic critics (for example Aristarchus and Polybius) assumed that it was from the various ancient and pre-Homeric myths that Homer drew inspiration, in the same way that he did with the myth of the Trojan War, which certainly occurred before him. Thus, the voyage of Ulysses, after his losing the course because of the storm at Cape Malea, had to be located in those sites. But how can one explain the fact that Homer places the voyage from Circe to the Hades over the Ocean? Is it only a pseudogeographic poetic touch, aimed to magnify the exploit? Crates of Mallus did not think so: in his opinion, only some of the numerous adventures had taken place in the Tyrrhenian Sea, whereas Homer had purposefully placed some other exactly on the Atlantic Ocean, beyond the Pillars of Hercules (the ancient name given to the Straits of Gibraltar). Whichever of the two models one chooses, the route of Ulysses seems to be completely unlikely, both from the point of view of objective reality and from the point of view of poetic imagination (if one desires to retain at least some plausibility). It appears to be a senseless coming and going that takes the shape of some sort of a labyrinth. Furthermore, the navigation times suggested by the text do not accord at all (even approximately) with the distances among the real sites. For this reason, Eratosthenes held that, from Cape Malea onwards, Ulysses switched from the real world to that of fantasy, or better still to the world of some narrative fable that does not heed geography at all. The modern critics are inclined to agree with him and this thesis is nowadays the most popular one. Yet, a very serious objection can be raised here: the myth and the epos (since the most archaic era), are strictly linked to the geography and the topography as well – they are radically refractory to a narrative fable that totally contradicts the then realities of time and space. Why should Ulysses plunge from Cape Malea onwards straight into the Neverland kingdom? If we combine Odyssey’s data with those we can reconstruct for the earliest form of the Argonautic saga (taking also into account the chronology of the Greek western colonization), then we get the solution that neither the ancient nor the modern critics have guessed correctly: up to around the middle of the 8th century B.C., the Greeks thought the Ocean to flow just after the Sicily Channel, essentially coinciding with the so-called Tyrrhenian Sea, still completely unknown at that time. This new perspective can well justify the objective disorder of Ulysses’ route. Above all, it also bears a deeper poetic sense: the Hero had the chance to know and to experience not only some far and exotic countries in general terms (as it can happen to any off-course sailor), but he also met the very boundaries of the surfacing lands and the rushing waters which encircle the terrestrial disc, bordering the external cosmic abyss. Ulysses came back home alive. He was able to tell the stories about the lands where no human being could ever sail. This borderline that geographically is clearly located marks at the same time the insurmountable chasm between the physical and the meta-physical world.
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Книги з теми "Cosmic odyssey"

1

Heidmann, Jean. Cosmic odyssey. Cambridge: Cambridge University Press, 1989.

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2

Cosmic odyssey. New York, NY: DC Comics, 1992.

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3

Heidmann, Jean. Cosmic odyssey. [S.l.]: Cambridge Univ Press, 2008.

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4

Barry, Parker. Cosmic time travel: A scientific odyssey. New York,NY: Plenum Press, 1991.

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5

Parker, Barry R. Cosmic time travel: A scientific odyssey. Cambridge, Mass: Perseus Pub., 1991.

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6

Parker, Barry R. Cosmic time travel: A scientific odyssey. New York: Plenum Press, 1991.

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7

Mignola, Mike, Carlos Garzon, and Jim Starlin. Cosmic Odyssey. Titan Books Ltd, 2003.

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8

Starlin, Jim. Cosmic odyssey. 2017.

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9

Heidmann, Jean. Cosmic Odyssey. Cambridge University Press, 2011.

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10

Heidmann, Jean. Cosmic Odyssey. Cambridge University Press, 2009.

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Частини книг з теми "Cosmic odyssey"

1

Saganti, Premkumar B., Francis A. Cucinotta, John W. Wilson, Lisa C. Simonsen, and Cary Zeitlin. "Radiation Climate Map for Analyzing Risks to Astronauts on the Mars Surface from Galactic Cosmic Rays." In 2001 Mars Odyssey, 143–56. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-0-306-48600-5_5.

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2

"Preface." In Cosmic Odyssey, vii—x. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.001.

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3

"The starry night." In Cosmic Odyssey, 1–10. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.002.

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4

"The universe, a thousand-year enigma." In Cosmic Odyssey, 11–17. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.003.

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5

"A first look at the universe." In Cosmic Odyssey, 18–63. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.004.

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6

"The relativistic universe." In Cosmic Odyssey, 64–92. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.005.

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7

"The quantum universe." In Cosmic Odyssey, 93–126. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.006.

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8

"The inflationary universe." In Cosmic Odyssey, 127–56. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.007.

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9

"The universe and ourselves." In Cosmic Odyssey, 157–79. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.008.

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10

"Epilogue." In Cosmic Odyssey, 180–82. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511525117.009.

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